The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Chicago, the Classicist No. 16 explores the city’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include Guest Editors Stuart Cohen and Julie Hacker of Cohen & Hacker Architects; Ann Lorenz Van Zanten, the first Curator of Architecture at the Chicago Historical Society; Jeanne Sylvester, founder of Sylvester Historic Consultants, LLC; Rolf Achilles, architectural historian and member of the board of the Richard H. Driehaus Museum and the Hegeler Carus Mansion; David Van Zanten, professor emeritus at Northerwestern University; Edward Keegan, architect and writer; and Aric Lasher, president and director of design at HBRA Architects.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Florida, the Classicist No. 17 explores the city’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include Guest Editor Elizabeth Plater-Zyberk; Leslee F. Keys, Director of Historic Preservation and Assistant Professor of History at Flagler College; Bruce Stephenson, professor at Rollins College; Wayne Wood, O.D., Hon. AIA, Historian-at-Large for the Jacksonville Historical Society; Beth Dunlop, writer and editor specializing in architecture; Michael Mesko and William Rutledge; and Andres Duany, founding principal of DPZ CoDesign.
The Classicist is an annual peer-reviewed journal dedicated to advancing the mission of the Institute of Classical Architecture & Art by providing a venue for scholarship related to the classical tradition in architecture and the allied arts, a forum for current classical practice, and a source of information and inspiration for students, practitioners, teachers, patrons, and lovers of classical art and architecture. Volume 11 will feature scholarly essays dealing with historical practice, international portfolios of current work by professionals and students, and book reviews. The content ranges from urban design to individual buildings, to decorative arts and gardens. The journal is extensively illustrated, with many images in color, and will appeal to specialists and non-specialists alike. Contents:The Classicist at Large (editorial); Essays; Professional Portfolio; Academic Portfolio; Book Reviews
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Northern California, the Classicist No. 21 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field. Contributing authors include Daniel Gregory, architectural historian and editor; Laura Ackley, author of San Francisco’s Jewel City: The Panama-Pacific International Exposition of 1915; Lucia Howard, Partner at Ace Architects and Piraneseum; Therese Poletti, author of Art Deco San Francisco: The Architecture of Timothy Pflueger and journalist at MarketWatch; and Andrew Shanken, Professor of Architecture at UC Berkeley College of Environmental Design.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on New England, the Classicist No. 20 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field. Contributors include Michael J. Lewis, Professor at Williams College and architecture critic for the Wall Street Journal; Kenneth Hafertepe, Professor at Baylor University; Aaron M. Helfand, Architect at Knight Architecture in New Haven; Sarah Allaback, author and architectural historian; Mark Alan Hewitt, architect, preservationist, and architectural historian; Keith N. Morgan, architectural historian and Professor Emeritus at Boston University; Kyle Dugdale, architect, historian, and Senior Critic at Yale University; and John Tittmann, founding partner at Albert Righter Tittman Architects, alongside submissions to the professional and academic portfolio.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on the state of Texas, the Classicist No. 19 explores the state’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include architectural historian Stephen Fox; Anna Nau of Ford, Powell & Carson Architects; Tara Dudley of the University of Texas at Austin School of Architecture; Kenneth Hafertepe of Baylor University; and architectural author James Wright Steely; alongside submissions to the professional and academic portfolio.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on the United States’ Washington Mid-Atlantic region, the Classicist No. 18 explores the city’s rich architectural history as well as contemporary examples of classical design through professional and student portfolios as well as academic articles authored by leaders within the field. Contributors include Guest Editor W. Barksdale Maynard, architectural author; Witold Rybczynski, Martin and Margy Meerson Professor Emeritus of Urbanism at the University of Pennsylvania; David Frazer Lewis, Associate Professor of Architectural History at the University of Oxford; and Bryan Clark Green, Director of Historic Preservation for Commonwealth Architects in Richmond.
The Classicist is an annual journal dedicated to the classical tradition in architecture and the allied arts. Focused on Ohio, the Classicist No. 22 explores the region’s rich architectural history; contemporary examples of classical design through professional and student portfolios; and academic articles authored by leaders within the field.
The scholarly journal produced by the Institute of Classical Architecture & Art (ICAA) is now in its tenth issue and continues to serve as an inspiration for professionals, academics, and enthusiasts alike. This volume is richly illustrated with drawings, photographs, renderings, watercolors, and details in full color. Essays include contributions by Jana Vandergoot on the traditions of ‘urban food’ in Rome and Paul Gunther on the stunning work produced by the ICAA’s Beaux-Arts Atelier and Grand Central Academy of Art. The work of other schools is also represented through student portfolios from the University of Bologna, Notre Dame, Yale, Judson, Miami, the American College of Building Arts, and The Prince’s Foundation for Building Community. A wide range of professional work from across the country is featured in the “From the Offices” portfolio, reflecting regional application of traditional and classical forms. Also available: The Classicist No.9 ISBN: 9780964260139
A painter of figures, landscapes, architectural subjects, and still lifes, David Ligare (born 1945), expands the realist tradition through the very unreality of his art. Since the late 1970s, he has used his considerable technical skills and historical knowledge to create perfectly ordered Classical paintings influenced and informed by the ancient Greeks. At a time when few artists shared these interests or concerns, Ligare sought to make the ideas of antiquity relevant in today’s world, hoping to spark a renewed desire for knowledge and offering paradigms of moral choice. Setting subjects within the specifics of California – and the Monterey Peninsula region in particular – he bathes them in the pure and wondrous light of the coast. This publication, David Ligare: California Classicist, released in conjunction with the exhibition organized by the Crocker Art Museum in Sacramento, evinces Ligare s admiration for the ancients and his love of California through revelatory essays, a chronology, and more than 200 reproductions and photographs. Contents: Foreword: Donald Kuspit Singular Perfection: David Ligare’s Figuration Acknowledgments: Scott A. Shields and Lial A. Jones Introduction: Scott A. Shields David Ligare and Recurrent Classicism Chapter 1: Scott A. Shields – California Classicist Chapter 2: David Stuart Rodes – The Literate Picture Chapter 3: Patricia Junker – Vie Coye/Life Stilled Chronology: Scott A. Shields Selected Bibliography Index
FMR No. 15 is filled with running water, but also so much more: Théophile Gautier on the tombs of Egypt, to go with a major new exhibition in Rome; the vintage doorknockers of the Cesati collection, on show at the Masone Labyrinth, Simone Facchinetti on the hidden faces of painting. Then, the massive monument of the Chronicle of Georgia, dominates the manmade lake outside of Tbilisi. Giorgio Antei on Piero di Cosimo’s saga of Primitive Humanity, created in Medici Florence. Uncanny Atlantis by Patanè, Villani, and von Neipperg, brings us the paintings of Andrei Beloborodov, who dreamed of silent ruins flooded by vast waters. Then “The Congolese Envoy” focuses on a bust in polychrome marble at Santa Maria Maggiore (Rome), depicting António Manuel Ne Vunda, Congolese envoy to the Holy See. Last of all, Stefano Salis visits the Party Pavilion at the Grand Hotel of Castrocaro, decorated by Tito Chini.
Issue 7: In our cover story, Roberto Tassi evokes a museum of Italian agrarian life, featuring brilliant if humble creations that transcend their utilitarian origins. The Manila Galleon carries both stunning Japanese folding screens and the gifted craftsmen who made them, across the Pacific to Novohispanic Mexico (Hwee Lie Bléhaut & Rodrigo Rivero Lake). In a magnificent show at the Hudson Valley’s Magazzino Italian Art, the geometric daring of architect Carlo Scarpa’s glasswork, created in 1920s-40s with Murano’s master glasscrafters (Marino Barovier). Vincenzo Patanè recounts Lord Byron’s last love, in Ravenna, while reviewing the great works of 19th-c. art that sprang from Byron’s unique visions. In Hors d’Oeuvres: Nobelist Orhan Pamuk’s Mr. PA returns to the Met, to delve into the secrets of Cézanne’s The Card Players, Simone Facchinetti studies the tricks of the art dealer’s trade, and we fondly remember our friend and colleague, Italo Calvino on the centennial of his birth.
In Issue 6, we explore the Grand Tour, a 250-year tradition of English aristocracy, of spirit or purse, visiting the art capitals of France and Italy, with articles by Nicholas Foulkes, Fernando Mazzocca, Pietro Mercogliano. Giorgio Antei revisits Olga de Amaral, Colombian textile artist. We visit the home of Luigi Serafini, creator of a mysterious world: texts by Giorgio Villani, Laurel Saint Pierre, Justin Taylor. Then Maino’s take on Giuseppe Castiglione, a Jesuit missionary and the Kangxi Emperor’s court painter in 18th-c. Beijing, mixing Western and Chinese styles. Gabriele Reina dives into pre-Impressionist Provence; Giovanni Mariotti evokes a Provençal hybrid dragon. In Hors d’Oeuvres: Nobelist Orhan Pamuk’s Mr. PA goes to the Met, to study Goya, Massimo Navoni visits Milan’s ex-Ansaldo factory, Cristian Valenti views the work of Ugo Celada da Virgilio, and Antony Shugaar teases out the history of a name, Diomira, in the memories of three great Italian authors.
Through a selection of Edvard Munch works the Norwegian award-winning author Lene Ask invites children of all ages to draw and be creative together with Munch. The book has texts by Ask accompanied by exercises that are related to Munch’s way of experimenting and encourage children to participate in the wonderful world of Munch’s art. Design by Aslak Gurholt, one of Norway’s most renowned and award-winning book designers.
Ages 8+
FMR issue number 9, arriving on the vernal equinox, is wholly devoted to the world of plants, our humble and yet noble fellow travelers on this earthly plane: we range from botanical details in the masterpieces of the Prado to a tropical jungle painted in monochromatic grisaille in a Mexican monastery, from a Korean painter’s hyperrealistic cacti to an esoteric Genoese garden, and from the vegetable festoons of the Villa Farnesina to Gaetano Gandolfi’s portraits of great botanists. In the front of the book, we see again, after a one-issue hiatus, Nobel Laureate Orhan Pamuk’s “Mr. PA” visiting the museum.
In a symbolist striptease, Moreau painted Salome’s lethal fan dance twice. Fochessati explores what Dickinson called “The Homesick Eye” in a show in Genoa. There’s a Mood Indigo spreading over San Diego’s El Prado, as Shugaar describes: the show is Blue Gold. Salis looks back fondly at buxus, a cousin of Masonite beloved by Futurist Fortunato Depero. Navoni describes the latest auction of work by Vigée Le Brun as well as her wanderings across half the courts of Europe. Scaraffia describes the Japanese painter Foujita in Lost Generation Paris, with his bowl haircut and round Lennon glasses. Maróti brought the style of the Hungarian Secession to Mexico City’s Palacio de Bellas Artes. Dell’Acqua tells us about the ivories of Salerno, a finely etched medieval diorama of the Bible, from Creation to Pentecost. Brilli reminisces about the Marmore Falls, a spectacular manmade cascade. And Mariotti brilliantly revisits the metaphysics of coin banks.
A short story by Strega-award author Tiziano Scarpa accompanies cutting-edge porcelain work. Once again, historical women artists fetch a premium under the auctioneer’s hammer for Simone Facchinetti. A Dolce & Gabbana show spotlights Sicilian handicrafts, as Pietro Mercogliano tells us. The untutored, intuitive Franco-Tuscan artist Élisabeth Chaplin painted glowing portraits of her home, her family, and herself, by Cristina Nuzzi. Antony Shugaar narrates the feats of the starchitect of her time, Julia Morgan, who shaped Hearst’s Castle. Sylvia Ferino-Pagden describes how the selfies of the 16th century were advertisements for the work of Sofonisba Anguissola. Luísa Sampaio narrates René Lalique’s work as a jeweler, before he turned to glass. Rafael Barajas Durán lays out the political theory underlining Surrealism in the work of Remedios Varo. And Giorgio Antei tells the tale of the statesmanship and horseflesh haggling behind the two wives – a Savoy and a Farnese – of Spain’s Philip V.
Issue 13 opens with a Serafini show, “Madcappery and Genius,” at Masone Labyrinth. “Sweertsmania” reigns with art by Sweert, by Simone Facchinetti. In “Modern Baroque,” Giorgio Villani explores Catalan muralist Josep Maria Sert and a client list ranging from Rockefellers to French princesses: lavish abundance in stunning grisaille. In “Crystals, Castles, Seas, and Stars” Ezio Godoli explores the visionary work of Bohemian Wenzel Hablik. In “When Knighthood Was in Flower,” Eduardo Barba Gómez describe the floral codes implicit in a painting by Vittore Carpaccio, pride of the Prado. In “Portrait of Botero as a Young Man,” Giorgio Antei recalls an artist he once knew in nine parables: how the underfed young Botero invented an esthetic of plumpness. In “His Terrible Swift Brush,” Amy Durrell tells how, long before “Gone with the Wind,” Atlanta adopted its own big-screen epic of the Civil War. In “Notes from Underground, Caterina Napoleone recalls how Giuseppe Barberi told Rome a tale of its own history.
FMR No. 14 opens with the story of Paolo Veronese, then recalls the story of the creation of the Labyrinth as recalled by Ricci himself 10 years ago. Rosita Copioli explores the mythography of Hermes, and Massimo Navoni recalls the rise and fall and rise again of Tamara de Lempicka. Enrico Dal Pozzolo, curator of the major Veronese show at the Prado, recounts Paolo Caliari’s life. Giorgio Antei tells a picaresque tale of his travels in Oaxaca, Stefano Salis spins a story of Sardinian bread, Cristina Nuzzi looks back on Richelieu’s great art trove, and Maurizio Bettini descries the evocative moment of Trajan at the mouth of the Tigris, gazing longingly at a ship sailing off to India, envious of the exploits of Alexander in Punjab and along the Indus and Ganges Valleys.
Greed, hubris and narcissism: qualities that define many leaders and have grown to be part of today’s society and structures. Too often these qualities are seen as key ingredients for successful leadership, while they are actually a recipe for disaster. The so-called profit of this type of leadership runs at the expense of ourselves. In this book Bruno Rouffaer encourages leaders to find new motives: altruism, humility, the quest for balance, which see man as a whole and combine sustainable growth with the wellbeing of future generations. No Way advocates change: the Big bad boss era is over!
Classic, refined, and alluring are just some of the ways to describe Sarah Blank Design Studio’s timeless kitchen designs. Sarah Blank’s vast expertize in the classicist language spanning many decades and her creative vision for contemporary elegance form the basis of her understanding that a beautiful and functional kitchen is not only an integral part of the architecture of the house, but the very heart of the home. She incorporates a set of rules and principles in her work that are imperative to beautiful and functional design, mastering some of the finest kitchens ever developed for a new generation of happy homeowners. This beautifully photographed volume presents a stunning selection of award-winning projects, each showcasing exquisite beauty, attention to detail, and technical prowess.
This is a richly illustrated monograph revealing William T. Baker’s masterful detailing and superior craftsmanship of magnificent family residences. Showcasing 14 classically inspired homes of grace and beauty, each property reflects an astute comprehension of life as it is lived in the 21st century, with deliberate nods to historical aesthetics that coexist harmoniously with the architectural language of natural light, passive design themes, voluminous space, and fabulous comfort. Inspired by the bounty of classical architecture found in the grand homes of the southern United States, particularly the state of Georgia, the hallmarks of William T. Baker’s architecture are extraordinary attention to details of craftsmanship and construction, and a keen eye for scale and proportion. His work clearly reflects the aspirations of the American Dream. This beautifully photographed monograph of William T. Baker’s work is the third volume in IMAGES’ successful New Classicist series, and showcases the exquisitely designed homes of the modern family, who entrusted Baker with their dreams and visions, and whose trust has been rewarded with classically inspired homes of grace and beauty. His work contributes greatly to some of the most aesthetically pleasing residences being built in the United States today.
Richard Manion Architecture creates distinctive residences and estates with a respect for traditional forms and historic imagery adapted to modern living. The curated selection of rarely published projects in this second volume of RMA’s work, Streamlined, demonstrates the firm’s signature classicist style, which draws upon traditional and streamlined classical, regional, and contemporary influences to reflect authentic details, proportions, and a sophisticated sense of place for the 21st century.
In this book, the firm’s focus is on the integration of modernism within an overall framework of simplicity and restraint, discretion and harmony. Academic studies of European modernism, with its visionary approach and embodiment of the machine age, have come back to inspire, but with the understanding that many of its roots can be traced back to the heritage of classical design principles. This exquisite, fully illustrated volume showcases RMA’s goal to unite ideas about tradition, history, and modernity in a synergy and explores the meaning of shared architectural imagery and heritage for our time.
“The well-judged employment of classical detail in a new home has an additional significance that cannot be underestimated. It is an expression of an informed personal choice and an evocation of the delight in the human senses. This is true of all the houses featured in this book.” Jeremy Musson
“The architects and craftsmen that Phillip has featured in this wonderful book all have a love for classical detail. The art is alive and well, as can be attested to in these pages.” David Easton
In The Art of Classical Details, Phillip James Dodd takes a close-up look at some of the finest examples of contemporary classical architecture. The book consists of two chapters: The Essays and The Projects. Starting with a foreword by renowned decorator David Easton, The Essays are written by some of today’s most sought after architects, scholars and craftsmen. Accompanied by sumptuous full page photographs and renderings that illustrate a use of fine materials, intricate detailing, and superb artisanship, these insightful texts are essential reading for anyone with an interest in the theory, practice and craft of classical design. The Projects presents an illustrated look at 25 of today’s finest classically-designed homes. Employing the theories prescribed in the writings of the first chapter, this portfolio of contemporary buildings exhibits the work of some of the most recognizable and celebrated architects in Great Britain and the United States. The work featured in within this book demonstrates the timeless beauty of classicism, and delights in the role that superbly crafted details play in creating art.